Do you understand the business model of the rerelease of "The Journey to the West"?

With "A Chinese Odyssey" back on the screen in mainland cinemas on October 24, 2014, you can find that "replay" has gradually become a business model. The film replay is based on a variety of reasons, in order to get a higher box office, no matter in form, substance or time, we should seize the selling point. Of course, the modification or adaptation of the original film should be approved by the original producer to prevent infringement of the copyright of the original producer.

with "A Chinese Odyssey" on the mainland cinema screen again on October 24, 2014, you can find that "replay" has gradually become a business model. In the past, other films that have earned money by "rerunning" include "Evil from the East and the West", "Titanic" and so on. Who made the decision to replay? How will the box office of the replay be divided? Can the creators get a piece of the reruns? And whether there is a review of the replay in our country?

< strong > & who decides the gt;>> replay? < / strong >

< strong > does the producer have the right to decide whether to replay? < / strong >

who decides the replay, that is, who has the right to decide the release and release of the film during the replay. Generally speaking, the production company owns the copyright of the film, including the right of distribution and the right of projection. Whether it can be shown or replayed shall be decided by the film copyright owner.

the original "A Chinese Odyssey" was produced by Xi'an Film Studio (now West Film Group) and Stephen Chow's company, Hong Kong Color Star Pictures. Should Western Film Group authorize Huaxia Film Company to issue this replay with the approval of Hong Kong Color Star Film Company? "A Chinese Odyssey" is a co-production co-produced by the Xi'an Film Studio of the mainland and the Hong Kong Color Star Film Company, which jointly invest, send creative staff, share benefits and share risks. But at the same time, the two sides agreed that Xi'an Film Studio (now Western Film Group) owns the mainland copyright and Hong Kong Color Star Film Company owns the Hong Kong copyright. Western Film Group has the distribution rights and screening rights for the re-screening of A Chinese Odyssey in the mainland. Only with the authorization of the mainland copyright owner West Film Group can Huaxia Film Company be released and the major cinemas can be released without the authorization or consent of Hong Kong Color Star Film Company.

< strong > & how is the gt;>> box office revenue divided? < / strong >

< strong > how much box office can you earn by playing "nostalgia"? < / strong >

movie replay is based on a variety of reasons. In order to get a higher box office, we should seize the selling point in terms of form, substance and time. Of course, the modification or adaptation of the original film should be approved by the original producer to prevent infringement of the copyright of the original producer.

"A Chinese Odyssey" reruns, except for the adjustment of clarity, there is no obvious change in other aspects. Viewers can choose to watch it online. At the same time, "A Chinese Odyssey" is not re-shown in a specific period of time, and the layout is low. The possible selling point is only in nostalgia, and it is unclear whether this selling point will really bring huge box office revenue.

by contrast, Titanic has changed in two ways during its replay: first, Titanic introduces 3D technology to give people a new visual effect; second, it adds a lot of attention by adding nudity and car shock to male and female No.1. When "Evil from the East and the West" was re-shown, in addition to improving the quality of the picture, the content was re-edited, Zhang Guorong's part was increased, and it was scheduled to be released before Leslie Cheung's anniversary on April 1. The replay of "wreaking havoc in Heaven" introduced 3D technology, changed from a narrow screen to a wide screen, and partially adjusted the rhythm of the 1961 version of the story to be released during the Spring Festival.

rerun, if it can seize the selling point, it will improve its attractiveness to the audience and be more conducive to box office growth. It remains to be seen whether A Chinese Odyssey can successfully improve the box office by seizing the "nostalgia" of the audience.

< strong > Zhou Xingchi, as the producer, can't get box office share? < / strong >

the box office earned after the release of the film can be shared in a certain proportion among producers, investors, issuers and major cinemas. Generally speaking, after deducting 5% of the box office and 3% of the tax paid to the national film fund, 57% of the net box office goes to cinemas and cinemas, while the remaining 43% is the income of producers and distributors.

can Zhou Xingchi, as the producer, get a corresponding box office share in A Chinese Odyssey? Before, many fans thought that the rerelease of "A Chinese Odyssey" meant that they could "repay the debt to Zhou Xingchi", but in fact this was not the case. Although Chow's company, Hong Kong Color Star Film Company, is the producer, it only owns the Hong Kong copyright of "A Chinese Odyssey". As the film is re-shown in the mainland, after the investors recover the costs and benefits, the other income should belong to the mainland copyright holders. Therefore, the box office revenue of the re-screening does not involve "paying Zhou Xingchi", but is only shared among the Western Film Group, Huaxia Film Company and major cinemas.

< strong > & can the creators of gt;>> movies get a piece of the pie? < / strong >

A film that brings together the joint efforts of directors, actors, lyricists and songwriters. For this replay of "A Chinese Odyssey", can the creators get paid from the producers again? This is, of course, in accordance with the terms of the contract; and considering that the film was made ten years ago, according to the business model at that time, the general creative staff agreement does not stipulate the number of times the film is distributed. Then we only look at it from a legal point of view, whether the creator can get the second reward.

< strong > can writers, directors, photographers, lyricists, composers, etc. get paid? < / strong >

< strong > can actors get paid? < / strong >

Article 38 of China's copyright Law stipulates the rights of performers, of which the fifth right is that performers have the right to license others to copy, distribute and receive remuneration for sound recordings and video recordings of their performances. Release can be understood as [first release] or [reissue]. In the re-screening of "A Chinese Odyssey", the distributor should obtain the permission of the actors for the films that have been recorded, and after the box office is divided, the producers should allocate some of them to the actors as remuneration. As a result, actors such as Stephen Chow can actually get paid after the replay. However, it is not known whether there is a box office share and how much between the actors and producers of "A Chinese Odyssey". Generally speaking, there are few examples of actors getting paid from domestic film reruns at the box office.

< strong > can foreign creators share the profits? < / strong >

compared with the situation in foreign countries, the creators can get better treatment in the case of film replay, which depends on the development of foreign film trade union system. The film union includes the directors' union, the screenwriters' union and the actors' union, which will formulate some regulations according to the characteristics of the industry, such as the replay of the film, which should pay the corresponding remuneration to the creators. The trade union is committed to safeguarding the rights and interests of the staff within the industry. Take the American Writers' Union as an example, the union has asked the producer to raise his salary by 20%, to pay the copyright fee that the screenwriter should receive, to improve the status of the screenwriter, and so on.

< strong > & should gt;>> replay be approved? < / strong >

for film distribution and release, China has issued the "Film Administration regulations" and the "provisions on the implementation of Film Distribution and projection license and Annual Inspection system", but there are no clear provisions on "film replay". So, should the replay be approved?

when Dragon Inn was re-released in 2012, although the content and form of the film had not changed much, it was told that the replay also needed to be re-trimmed and censored. Titanic re-released with male and female No.1 nudity and car shock, but was deleted during its release. "rescued Django" was suspended after its first release, and was asked to delete the nudity and other bloody scenes of Django upside down, which was re-shown after a second trial.

so we can draw a conclusion from the industry practice in our country: re-shown films also need to be approved by the State Administration of Radio, Film and Television, and also need to get a replay license.

and what are the specifications for issuing these licenses? How many films can be reshown every year? The details are not known. In the case of the existence of industry practice, in order to better regulate the behavior of replay films, perhaps we had better have specific norms to guide.

< strong > & is gt;>> replay a business model? < / strong >

replay is a business model. The logic of

is to gain market value again by reusing the attention generated by copyrighted content.

therefore, generally speaking, there are two kinds of business models that focus on the audience's attention: one is to change the experience form of attention, such as taking advantage of technological breakthroughs and introducing 3D technology or widescreen technology to give people a special visual effect.

the other is to increase the repetition of attention. For example, when Hunger Games 2 was released, some cinemas filmed Hunger Games 1, and it was also used in the series of Harry Potter 7 films.

what kind of movie is suitable for the business model of "rerun"? The analysis of the commercial nature of "replay" is the same as the adaptation of best-selling novels into film and television works-for audiences, different content carriers (channels) are an entrance to the same IP to absorb the value of traffic, from the carrier of text works to the channel of cinema, realizing the audience's secondary consumption, the cost of adaptation is bound to be lower than the original, and the risk is relatively small. On the other hand, "replay" is just to realize the value of the content again in the same channel, with a fixed fan base, lower cost and controllable risk.

so this business model is usually suitable for older films and art films with high IP value. Their brand itself represents a culture with a fixed fan flow and a stable audience. For such films, what the audience consumes is not the film products, but the brand culture itself.

"A Chinese Odyssey" reruns, do you understand?